In this project, I turn to the principle of the spectrum as a way of seeing the surrounding reality not through the depiction of an object, but through its chromatic structure. I am interested not in the literal reproduction of the world, but in how the world can be decomposed into lines, colours, sequences, and rhythms. Any space — an interior, architecture, nature, an urban environment, an object, or a state of light — can be read as a spectrum. Not as a photograph, but as a system of chromatic tensions.
Each work is based on a structure of 332 lines and 20 colours. These lines form not a classical gradient and not a decorative palette, but a spectrum of the surrounding reality — its compressed visual code. The colours enter into relationships with one another: they collide, support each other, disappear, return, intensify neighbouring tones, or create unexpected optical vibrations. For me, the spectrum here is not a physical colour scale, but a way of translating perceptual experience into a material composition.